Label: Clean Feed, 2023

Personnel - François Houle: clarinet; Marco von Orelli: cornet, trumpet; Samuel Blaser: trombone; Benoit Delbecq: piano; Michael Bates: bass; Harris Eisenstadt: drums.

Canadian clarinetist François Houle, whose keen arrangements and musical execution can be seen in every nook and cranny of his discography, is joined by a solid combo recommended by the late Ken Pickering. In Memorian pays tribute to the latter, who was a mentor, a friend, and the artistic director of the Vancouver Jazz Festival for 32 years, a fact that binds even more these musicians together. Houle’s Genera Sextet made its debut in 2012, and appears here with one single alteration: Swiss trumpeter and cornetist Marco von Orelli replaces Taylor Ho Bynum.

An introductory short piece called “Stand By” opens up the curtain, almost in a thoughtful symphonic way and with an epic sentiment of confidence that runs between the lines. It leads to “Requiem for KP”, the only track that, passing the 10-minute mark, rolls out with staccato actions that deliberately interfere with the rhythmic flux, and quiet moments with assorted circular motifs on the move. Bassist Michael Bates delivers a pensive solo over the irregular if scintillating drum flow of Harris Eisenstadt. Then, the pianist Benoit Delbecq goes for a swinging walk with the horn section of Houle, Orelli and trombonist Samuel Blaser filling spaces in unison. The latter dishes out an improvisation laced with exclamations, and the bandleader concludes the improvisations with strong articulation and unpredictability. By the end, the sympathetic happy swing that had been put up for the solos winds back to the mournful tones of the first stage.

“Ekphrasis” emphasizes the collective work with repetition of every 20-beat cycle, whereas “Gish Gallop” develops with a contemplative feel, exposing amiable tones and often masking the tempo with meticulous harmonic accentuations. Distinct from any other tune, “Scarlet” lives in a kind of Afro-Latin exuberance masterfully created by Delbecq’s prepared piano. Eisenstadt’s colorful drumming and Bate’s dancing bass groove in seven reinforce this effect.

The group presses forward on “This Tune…”, opting for a certain angularity in the melody without feeling too off. Houle’s loose clarinetism is sometimes joined by the rest of the pack for a phrase conclusion. Yet, “Deep River” is more prone to mood and rhythmic shifts, efficiently melding avant-garde jazz, rock, and post-bop elements.

In Memoriam is a requiem that doesn't necessarily sound doleful. For the sake of the music, there's also celebration, nostalgia, love, joy, and gratitude packed into the same bag.

Favorite Tracks:
02 - Requiem for KP ► 04 - This Tune… ► 06 - Scarlet

Label: Songlines Recordings, 2020

Personnel - François Houle: clarinet; Gordon Grdina: guitar; Mark Helias; double bass, clarinet; Gerry Hemingway: drums.

Canadian clarinetist François Houle goes deep into the compositional concept of his new outing, Recoder, a vibrant quartet effort featuring Gordon Grdina on guitar, Mark Helias on double bass and clarinet, and Gerry Hemingway on drums. The album relies on juxtaposed melodic threads that allow harmonies and structures to emerge naturally. All instruments fulfill other tasks than just their expected roles, and on the opening and closing tunes, as well as on the intercalated short interludes, we have Houle teaming up with Helias in clarinet duets.

“The Black Bird” displays a tight, uniform rhythmic net of bass and drums at the bottom over which an insane melody professed conjointly by clarinet and guitar with part angular fury, part swing-inflected disposition, finds solace. It brings to imagination the works of Steve Lacy and Anthony Braxton, both Houle’s undeniable inspirations. The interplay soon veers into a playful frenzy, but refrains from expanding before the tune’s midpoint, when a more lyrical and contemplative mood is embraced.

Grdina, a quick-witted improviser who is not swayed to gimmicks to get our attention, does a marvelous job throughout. His notable guitar work gets closer to Mary Halvorson’s type of sound on “Big Time Felter”, where adventurism with logic fits his musical ideals. After Helias turns his stunning arco bass speech into an agile pizzicato, Houle and Grdina work in tandem to create sonic vibrant energy in a gorgeous gush of amazing interplay. The latter, clearly deserves the spotlight here, delivering a superb solo initially backed by Hemingway’s perceptive drumming. The drummer is also preponderant in “Canyamel”, an avant-garde delight where he meddles with purpose on the burning conversational exchanges between the clarinetist and the guitarist.

Popping clarinet sounds on the title cut, “Recoder”, seems to coax the rhythm section to lay down an African-inspired rhythm, a strutting parade atop which elliptical trajectories are explored on different registers. The rock-inflected guitar chops have the fluttering clarinet by their side, yet both explore trails and routes individually, emphasizing kinetic curves and irregular slopes. When simultaneously in action, the two musicians employ dynamism to open up new avenues. That’s the case in “Bowen”, a piece bookended by austere unisons and enhanced by a feverish drum solo.

In great amusement, the quartet swings galore on “Baseline”, a polyphony-imbued piece that thrives with an odd-metered groove and a firm rhythmic lock.

Discipline and improvisation combine for an intricate musical aesthetic that will put a smile on the avant-gardists’ faces.